As if rediscovering the world as a blind person isn't hazardous enough, here Farrow must contend with not only figuring out how to make instant coffee, but also fending off a bloodthirsty murderer! She plays a young lady who has lost her sight as the result of a horseback riding accident. After a period of rehabilitation, she comes to stay at a secluded country estate with her aunt, uncle and female cousin. Things start off hopeful enough as her old beau Eshley is still interested in her and welcomes her to proceed with their relationship in lieu of going away to a special school in order to learn a trade. Unfortunately, her uncle Bailey has managed to set off an unstable, boot-wearing, angry, young punk and this leads to a vicious episode of slaughter. Naturally, Farrow eventually finds herself confronting the killer after coming upon bodies, one after another. Just when she thinks she's free, there's an entirely new, and even more harrowing adventure in store for her! The film begins with an obvious message, that society breeds violence through the continual glorification of it in films, on TV and even in toys. The killer is shown walking by every conceivable example of it before Bailey makes the mistake of splashing rainwater on his boots with his fancy car. Farrow is well-cast as the fragile, yet resilient, heroine. Her vulnerable, waif-like frame and wan complexion make her seem like particularly easy prey for the relentless murderer. Though some of her movements seem a bit overdone at times (and the film actually asks the audience to believe that she could walk around a kitchen TWICE to make coffee and never once brush against a plethora of broken glass that is strewn all over the floor), she is generally fine at suggesting the affliction of her character. Eshley is a reasonably dashing hero for her and looks nice in his riding pants. The family members provide adequate personalities in their thinly sketched roles. The film benefits from some lovely location settings and a strong sense of atmosphere. Particular mention must be made of the terrific camera-work which does an excellent job of letting the viewer see only so much of what is present in a room. Where the film fails to a certain extent is in the fact that this is barely enough story to fill a one hour TV anthology and so there's plenty of padding as a result. Also, so many trials and tribulations are piled up on Farrow towards the end that it sometimes comes off as hysterically funny. By the time she (apparently doing most, if not all, of her own stunts) has burst through a wall, rolled down a hill, fallen into mud and is banging a muffler on an abandoned car roof, she has become too much like Mr. Bill for comfort. It's overkill (and that's not the end!) Also, the identity of the killer is not only mishandled (no one seems very surprised by it and his behavior is wildly inconsistent to say the least) but the film cheats a bit in having him change clothing more than once within the course of a day for no believable reason. Still, for tension and wince-inducing creepiness, this film does deliver, especially in its midsection and again near the very end. Composer Bernstein has quite a field day here, especially during the opening credits.
Review of See No Evil
